Bibliography

(in parenthesis, year of the first edition —if known—)

Ansermet, Ernest (1961): Les fondements de la musique dans la conscience humain, Neuchâtel. Éd. de la Baconnière.

Balsach, Llorenç (1994): La convergència harmònica. Morfogènesi dels acords i de les escales musicals, Barcelona. Clivis Publicacions.

Balsach, Llorenç (1997): Application of virtual pitch theory in music analysis, Journal of New Music Research, Volume 26, Issue 3.

Balsach, Llorenç (2001): Tonos virtuales y análisis armónico (www.teoria.com).

Calvo-Manzano, Antonio (1991): Acústica físico-musical, Madrid, Real Musical.

Christensen, Thomas (1993): Rameau and Musical Thought in the Enlightenment, Cambridge University Press.

Christensen, Thomas (2010): Thorough bass as music theory (in Partimento and Continuo playing in theory and in practice collection, Orpheus Institute).

Cohen, H.F. (1984): Quantifying Music, Reidel Publishing.

Costère, Edmond (1954): Lois et styles des harmonies musicales, Paris. Presses universitaires de France.

Dahlhaus, Carl (1990): Studies in the Origin of Harmonic Tonality, Princenton University Press.

Danielou, Alain (1943): Introduction to the study of musical scales, Gyan Books.

Danielou, Alain (1967): Sémantique musicale, Paris. Hermann.

Daube, Johann Friedrich (1756): The Musical Dilettante (translation and introduction of Susan P. Snook, 1992. Cambridge University Press).

Daube, Johann Friedrich (1756): General-Bass in drey Accorden (http://imslp.org/).

Descartes, René (1618): Compendium Musicae, Paris (versión española: Compendio de música, 1992. Ediciones Tecnos).

Fétis, François-Joseph (1840): Esquisse de l'histoire de l'harmonie (english translation by Mary I. Arlin. Pendragon Press).

Forster, Cris (2010): Musical Mathematics: On the Art and Science of Acoustic Instruments. San Francisco, California. Chronicle Books LLC.

Forte, Allen. (1973): The Structure of Atonal Music, New Haven & London. Yale University Press.

Giannetta, Domenico (2009): La cifratura ideale degli accordi: sistemi teorici a confronto. Rivista di Analisi e Teoria Musicale, XV, 2009/2. GATM.

Harrison, Daniel, (1994): Harmonic Function in Chromatic Music, The University of Chicago Press (2010 edition).

Helmholtz, Hermann (1863): Die Lehre von den Tonempfindungen als physiologie Grundlage für Theorie der Musik, Brumswick: Longmans&Co (english translation: On the Sensations of Tone, 1875).

Hindemith, Paul (1937): Unterweisung im Tonsatz, Mainz: Schott & Co. (english translation: The craft of musical composition, London&New York 1942).

Jones, William (1784): A Treatise on the Art of Music, Colchester (http://imslp.org).

Krumhansl, Carol L. (1990): Cognitive Foundations of Musical Pitch, New York & Oxford. Oxfod University Press.

Leman, M. (1995): A model of Retroactive Tone-Center Perception. Music Perception: An Interdisciplinary Journal, Vol. 12 No. 4, Summer, 1995; (pp. 439-471)

Leman, M. (1995): Music and Schema Theory. Cognitive Foundations of Systematic Musicology, Berlin-Heidelberg: Springer Verlag.

Lendvai, Ernö (1955): Bevezetés a Bartók-müvek elemzésébe, Budapest (english translation: Béla Bartók: an analysis of his music, 1971. London: Kahn & Averill).

Lendvai, Ernö (1993): Symmetries in music, Kodály Institute.

Levarie, S. (1992). Musical Polarity: Major and Minor. International Journal of Musicology 1, 29-45. Peter Lang AG.

Luppi, A. (1989). Lo Specchio dell'Armonia universale, Milano. Franco Angeli Libri.

Mathieu, William A. (1997). Harmonic Experience, Rochester (Inner Traditions).

Meddis, R. & Hewitt, J. (1991). Virtual pitch and phase sensitivity of a computer model of the auditory periphery. I: Pitch identification. Journal of the Acoustical Society of America, 89(6), 2866-2882.

Messiaen, Olivier (1944): Technique de mon langage musical, Paris (english translation: Technic of my musical language, 1957. Alphonse Leduc).

Monzo, Joe (1999): The measurement of Aristoxenus's División of the Tetrachord (www.tonalsoft.com/monzo/aristoxenus/aristoxenus.aspx).

Moore, B.C.J. (1986): Frequency Selectivity in Hearing, London, Academic Press.

de la Motte, Diether (1976): Harmonielehre (edición española: Armonía, Editorial Labor).

Olson, Harry F. (1967): Music, physics and engineering, New York. Dover Books.

Parncutt, Richard (1988). Revision of Terhardt's Psychoacoustical Model of the Root(s) of a Musical Chord. Music Perception, Vol.6(1), 65-93.

Partch, Harry (1974): Genesis of a music, Da Capo Press .

Persichetti, Vincent (1961): Armonía del Siglo XX (edición española, Real Musical).

Piston, Walter (1941): Harmony (fifth edition, 1987, versión española, Armonía, Labor, 1991).

Platon: Timaeus (edición española.: Timeo (Diálogos), 1992).

Plomp, Reinier (1964): The ear as a Frequency Analyzer. Journal of the Acoustical Society of America, 36, 1628-1636.

Rameau, Jean-Philippe (1722): Traité de l'Harmonie Réduite à ses Principes Naturels, Paris: Jean Baptiste-Christiphe.

Rameau, Jean-Philippe (1737): Génération harmonique ou traité de musique théorique et pratique, Paris.

Rameau, Jean-Philippe (1750): Démonstration du Principe de l'Harmonie, Paris: Ballard.

Riemann, Hugo (1893): Vereinfachte Harmonielehre oder die Lehre von den tonalen Funktionen der Akkorde, London & New York (english translation: 1896).

Rimski-Kórsakov, Nikolái: Tratado práctico de armonía (edición en castellano. Ricordi Americana).

Shambaugh, G.E.: Sensory Reception. The auditory process. (Encyclopaedia Britannica, Ed. 1990).

Schenker, Heinrich (1906): Harmonielehre, Stuttgart (versión española: Tratado de armonía, 1990, Real Musical).

Schoenberg, Arnold (1922): Harmonielehre, Wien (versión española: Armonía, 1974, Real Musical).

Schoenberg, Arnold (1948): Structural functions of harmony (italian version 1967, Funzioni Strutturali dell'armonia, Il Saggiatore).

Tartini, Giuseppe (1754): Trattato di musica secondo la vera scienza dell'armonia, Padua: Stampa del seminario facsimil: Casa Editrice Dott. Antonio Milani.

Tartini, Giuseppe (1767): De' principj dell'armonia musicale, Padua: Stampa del seminario facsimil: Casa Editrice Dott. Antonio Milani.

Tchaikovsky, Piotr Ilitx: Guide to the Practical Study of Harmony. Carousel Publishing (translation from German edition, 1983).

Tenney, James (1988): A history of `Consonance' and `Dissonance', Excelsior Music Publishing.

Terhardt, Ernst (1974): Pitch, consonance, and harmony. Journal of the Acoustical Society of America, 55(5), 1061-1069.

Terhardt, Ernst (1982): Die psychoakustischen Grundlagen der musicalischen Akkordgrundtöne und deren algorithmische Bestimmung. In C.Dahlhaus & M.Krause (Eds.). Tiefenstruktur der Musik. Berlin: Technical University of Berlin.

Terhardt, E., Stoll, G. & Seewann, M. (1982): Algorithm for extraction of pitch and pitch salience from complex tonal signals. Journal of the Acoustical Society of America, 71(3), 679-688.

Terhardt, E., Stoll, G. & Seewann, M. (1982): Pitch of complex signals according to virtual-pitch theory: Tests, examples, and predictions. Journal of the Acoustical Society of America, 71(3), 671-678.

Van Immerseel, L. & Martens, J-P. (1992): Pitch and voiced/unvoiced determination with an auditory model. Journal of the Acoustical Society of America, 91(6), 3511-3526.

Vergés, Lluís (2007): El lenguaje de la armonía, Barcelona. Editorial Boileau.

Vogel, Martin (1962): Der Tristan-Akkord und die Krise der modernen Harmonielehre, Düsseldorf. Verl. d. Ges. zur Förderung d. Systematischen Musikwissenschaft.

Vogel, Martin (1975): Die Lehre von den Tonbeziehungen, Bonn: Orpheus (Verlag für systematische Musikwissenschaft) (english translation: On the Relations of Tone, Bonn 1993).

Home